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Lot Essay
The gesture must by no means be 'at lightning speed'. The movement of the flux is not born in a hasty, unthinking assemblyK It is extraordinary. Excessive rapidity of execution cannot produce the necessary inner substance for the concretization of the movement. A kind of restrained spontaneity of the impulse transmits the vital energy.
- Fabienne Verdier
Born in Paris, Fabienne Verdier moved to China and studied at the Fine Arts Institute of Sichuan, China, where she earned the award for Outstanding Achievement and held her first solo exhibition at the Chongqing Fine Arts Center in 1989. Within the same year she became a member of the Sichuan Calligraphers Association in China, and participated in the Beijing Fine Arts Center's International calligraphy exhibition. Her works are widely collected by many international private collections such as the E. de Rothschild Collection, the Huber Looser Collection, the Monique Barbier-Muller Collection, the Uli Sigg Collection and many more. We can see her works in public collections such as the Musée National d'Art Moderne Centre Pompidou, Honda group, Chinese Ministry of Culture, Musée Cernuschi, and the Fondation François Pinault.
Fabienne Verdier embodies something fresh and unique that is both conceptual and gestural, which recalls the painterly manner of Jackson Pollock and Chu Teh-Chun. Her techniques, skills and medium of choice are deeply founded in Chinese aesthetics, yet her rhythm of brushstrokes and vivid colours, and her strong sense of structure and balance in her panel compositions recalls the Abstract Expressionism of the West. Having practiced and studied traditional ink painting between 1983 and 1989, Verdier internalizes and reinterprets traditional Chinese aesthetics and philosophy, through her daring and innovative invention of tools for her art endeavours. Composition-wise, Verdier plays with structure within her panel works to fragment the lines and colours, by utilising her invented large brush to create extensive gestural movements and by applying ink with swift yet precise and well-controlled brushstrokes. Verdier takes inspiration from nature and keeps meticulous notes on her sketch books to consolidate ideas. Such working methods and thought processes are deeply founded in Western art practice, yet the practice evokes a metaphysical and meditative quality that is akin to the Chinese literati painting tradition. There is a constant flow of energy within her expansive abstract canvases, her work embodies the familiar aesthetic of tradition Chinese brushstrokes yet it is very abstract and freshly modern at the same time. In her own words, "With my brush as my companion, the flow of matter becomes a landscape, the canvas a physical map, a kind of geography of the spirit which brings us to perceive the hidden framework of the world."
- Fabienne Verdier
Born in Paris, Fabienne Verdier moved to China and studied at the Fine Arts Institute of Sichuan, China, where she earned the award for Outstanding Achievement and held her first solo exhibition at the Chongqing Fine Arts Center in 1989. Within the same year she became a member of the Sichuan Calligraphers Association in China, and participated in the Beijing Fine Arts Center's International calligraphy exhibition. Her works are widely collected by many international private collections such as the E. de Rothschild Collection, the Huber Looser Collection, the Monique Barbier-Muller Collection, the Uli Sigg Collection and many more. We can see her works in public collections such as the Musée National d'Art Moderne Centre Pompidou, Honda group, Chinese Ministry of Culture, Musée Cernuschi, and the Fondation François Pinault.
Fabienne Verdier embodies something fresh and unique that is both conceptual and gestural, which recalls the painterly manner of Jackson Pollock and Chu Teh-Chun. Her techniques, skills and medium of choice are deeply founded in Chinese aesthetics, yet her rhythm of brushstrokes and vivid colours, and her strong sense of structure and balance in her panel compositions recalls the Abstract Expressionism of the West. Having practiced and studied traditional ink painting between 1983 and 1989, Verdier internalizes and reinterprets traditional Chinese aesthetics and philosophy, through her daring and innovative invention of tools for her art endeavours. Composition-wise, Verdier plays with structure within her panel works to fragment the lines and colours, by utilising her invented large brush to create extensive gestural movements and by applying ink with swift yet precise and well-controlled brushstrokes. Verdier takes inspiration from nature and keeps meticulous notes on her sketch books to consolidate ideas. Such working methods and thought processes are deeply founded in Western art practice, yet the practice evokes a metaphysical and meditative quality that is akin to the Chinese literati painting tradition. There is a constant flow of energy within her expansive abstract canvases, her work embodies the familiar aesthetic of tradition Chinese brushstrokes yet it is very abstract and freshly modern at the same time. In her own words, "With my brush as my companion, the flow of matter becomes a landscape, the canvas a physical map, a kind of geography of the spirit which brings us to perceive the hidden framework of the world."